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1 hour ago, philipus said:

I like it a lot Andy. I didn't know you got a ride with an AT-AT walker :D

Just a railway overpass. ;)

I'm always on the lookout for high viewpoints - one of my first (and at the time, best) 6x6 shots was made in high school from a watch-tower looking down on Newbury Beach (Mass). Yashica D - Panatomic-X if I remember correctly. Negative long vanished.

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vor 23 Stunden schrieb A miller:

It's time to get salty. 😀

Here's one from my Dead Sea escapades this summer. 🖤

Tmax 100 with a red filter.

Technorama 617siii, 90mm Schneider Super Angulon XL + center filter

 

 

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This one is really fantastic Adam! The mood is completely different to your color photos. Almost like in a Mad Max movie

vor 10 Stunden schrieb Shlomo:

OMG! - Marc - of many many superb images this is one of my favorites. Looks like a movie poster. I love it so much!

Perfect work! 🙏🙏🙏❤️❤️❤️

Cheers, Shlomo.

Thank you very much Shlomo! To hear these words from such a soulful photographer is really an honor.

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Gardens

M2 Summicron  35/2 Asph Delta 100

 

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22 hours ago, Sparkassenkunde said:

Proof of concept - Yes, it is possible to do portrait shots with a cheap old folding camera, as long as you can live with a bit of swirly bokeh :)

 

Welta Belfoca II - Kodak T-Max 100

Swirly bokeh is fantastic, James.  Very well done.  for second I thought he was singing karaoke :)

20 hours ago, UliWer said:

 

 

 

Contax IIa, Sonnar 1:2, 85mm, Velvia 100

 

Very lovely!

17 hours ago, stray cat said:

Stunning, Adam, truly stunning. You are CREATING so much on your photographic excursions - this suggests extensive thought, location scouting and pre-planning. And the result is absolutely worth every bit of it. Masterpiece.

This is the opening scene of a classic noir film that I have yet to see because it has, sadly, yet to be made. Moody and mysterious, challenging plenty of consideration of what's to come.

...and speaking of cinema, here's the opening of the new David Lynch film where he regains his best form, a la Blue Velvet. Again, the narrative possibilities are endless - what are we to discover as the camera pans to the deck chair, or the lawn? - and there's even a subtle nod to a now-redundant film size. Again, masterfully conceived and executed.

Sincere thanks, Phil.  It is a bit out of my element but I think the heat got to me :)

14 hours ago, Ernest said:

Deconstructed Totem Hanapepe
M-A Thambar-M CS f/2.2 - f/6.3  ADOX Color Implosion
Riot of deconstructed chaos--or is it "the rot of deconstructed chaos?" Only an "I" makes the difference?

 

Wow, what a fantastic mosaic!  

8 hours ago, philipus said:

I'm sure he was there in spirit :)

Haha who walks who? 

Great shot Adam. But for the two in the background it could be an ad picture.

Wow just wow, fantastic shot.

I like it a lot Andy. I didn't know you got a ride with an AT-AT walker :D

Nice shot. Car design baffles me sometimes. For instance, how much the front of that Tesla model looks like Marvin the Paranoid Android.

 

Thanks, Philip, and it is good to finally se you on IG! :)

3 hours ago, benqui said:

This one is really fantastic Adam! The mood is completely different to your color photos. Almost like in a Mad Max movie

Thank you very much Shlomo! To hear these words from such a soulful photographer is really an honor.

Thanks, Marc and I applaud your imagination! :)

2 hours ago, christoph_d said:

Cowscape, Dommeldaal, a quarter to eight.

 

M4-P, 24, Fuji Industrial 100

Very good, Christoph.  I wouldn't have thought about that composition if I were in that cow pasture - I would just be thinking about how I am gonna get out of there! :) 

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On ‎8‎/‎30‎/‎2019 at 6:53 PM, stray cat said:

steph is ready to mow 2012

nikon f90x, af-nikkor 85mm f1.8, agfa ultra 100

"Move over, Rover, Steph is 'ready to mow!'" So, I am blinking and blinking at the date: 2012. Really? The jury is debating 1955 with Twelve Angry Men, not a pretty sight, and 1955 is winning. The Cold War is heating up and paranoia has yet to be a catch phrase; nothing is what it appears. But this is the dawn of Eisenhower, and Steph is driving a 1955 Buick Skylark convertible fresh off of her dad's Buick dealership showroom floor, two-toned white and pastel mint green. Pastel mint 1955 green, Steph's adopted trademark color, never mind the photography art director's prejudice for the Rover shot. And, talk about the shot! All right, we are sold on the red/green complementary scheme, and talk about the red heels, one foot on Rover's rear tire, just to steady things a bit because the Freudian subtext is, well, the Freudian subtext we love without even knowing about it. That alluring smile, getting Rover up to speed. Yes, and that flash fill, so adroit and understated. Then, there's the pastel mint green outbuilding wall that some of us who are into that sort of thing, well, that's the sort of thing we're into, excluding yours truly, ha, ha. Go ahead, invoke Bad Boy David Lynch with a theme song from Blue Velvet as the offscreen symphony for my Lounge on 127 piece! Lynch has his auteur eye on the Steph scenario as a Twin Peaks runner-up. Word's out that Mark Tansey is skipping his way over to the set for a bit of his trademark shenanigans with Derrida taking an espresso break. Oh, my, there's no such thing as "over-caffeination!" One question about the viridian green grass; was it Antonioni-painted or natural?

One more question (I lied about just one question); is there a calendar with Steph and Rover mowing great grass lawns, golf courses and suburban acreage?

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5 minutes ago, A miller said:

Here's something a little more conventional from the lowest point on earth :)

Velvia 50

Technorama 617siii, 90 SA XL, Center Filter, Polarizer. soft ND grad

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Am I supposed to be getting more than a little vertigo, now? Because I am. This is surrealistic, totally, and slots into that "apocalyptic" X file with that last black-and-white Dead Sea pano that slapped me into some alt-reality with Tangerine Dream throbbing a theme song. Tacita Dean has done some monumental white chalk (?) on black landscapes that threw a few switches bringing me back to your dance with the audacious SUBLIME.  Hate to shout, but perhaps the volume will compensate for the very extended conversation of the Sublime--the 19th-century revisioning of Longinus's treatise--and the 19th-century notion of the "panorama" and its narrative innovation. Why am I thinking of this (frightening) panorama as wall paper Kubrick should have used in the 2001 bedroom scene with Keir Dullea?

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18 hours ago, stray cat said:

...and speaking of cinema, here's the opening of the new David Lynch film where he regains his best form, a la Blue Velvet. Again, the narrative possibilities are endless - what are we to discover as the camera pans to the deck chair, or the lawn? - and there's even a subtle nod to a now-redundant film size. Again, masterfully conceived and executed

David Lynch Lounge on 127
M-A APO 50  ADOX Color Implosion

This was the cut Lynch "restored" to the Director-approved version. The grass, by the way, is real.

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43 minutes ago, Ernest said:

Am I supposed to be getting more than a little vertigo, now? Because I am. This is surrealistic, totally, and slots into that "apocalyptic" X file with that last black-and-white Dead Sea pano that slapped me into some alt-reality with Tangerine Dream throbbing a theme song. Tacita Dean has done some monumental white chalk (?) on black landscapes that threw a few switches bringing me back to your dance with the audacious SUBLIME.  Hate to shout, but perhaps the volume will compensate for the very extended conversation of the Sublime--the 19th-century revisioning of Longinus's treatise--and the 19th-century notion of the "panorama" and its narrative innovation. Why am I thinking of this (frightening) panorama as wall paper Kubrick should have used in the 2001 bedroom scene with Keir Dullea?

Wow, that is truly very kind, Rog  I appreciate all of those enlightening references.  I hadn't ever heard of Tacita Dean but her work is so very inspiring. I look forward to studying her stuff more.   Thanks for being you :)

34 minutes ago, Ernest said:

David Lynch Lounge on 127
M-A APO 50  ADOX Color Implosion

This was the cut Lynch "restored" to the Director-approved version. The grass, by the way, is real.

 

very interesting - thanks for the addition background.  I am still not sure what I am looking at but that Adox is doing its thing with those great greens :)

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Ping Pong Poipu
M-A Thambar-M CS f/4.5 & APO 50  ADOX Color Implosion

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3 hours ago, Kl@usW. said:

 

Talking of vertigo..... 

 

HB, Distagon 30 , Scala@200

 

oh yes, now I have vertigo!! :)

7 minutes ago, Gregm61 said:

Most recent M6 images, black & white with T-Max 100..

Just outside the Nasher Sculpture Garden with the 21mm Super Elmar.

 

The Cambria, same 21mm Super Elmar.

 

Museum Tower into the morning sun. Same 21mm lens..

 

Old Dallas Police Station, with the 135mm f3.4 APO Telyt.

 

Pick your scooter, with the 35mm f2.4 Summarit.

 

First light at White Rock Lake on August 16 with the 21mm f3.4 Super Elmar and Ektar 100.

 

 

My home town :)  Very nice and that last one with Ektar is sublime!

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400TX 

MP, 50 apo 

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vor 6 Stunden schrieb Ernest:

Ping Pong Poipu
M-A Thambar-M CS f/4.5 & APO 50  ADOX Color Implosion

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ping pong poipu--a nice rhyme and a nice color field indeed... and I learned, it rains in poipu too,  sometimes it perhaps  pours in poipu too.... or there might be even poo under the poipu ping pong.... is there such a thing as the acoustical equivalent to a color field ? And how would Rog´s fields sound ?    Deconstructed Totem Hanapepe definitely would start with the sound of  a collapsing shanty...and then slowly finding a rhythm, oblique and pulsating... 

Edited by Kl@usW.
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Ston, Croatia.

Nikon F3, Nikkor 35mm, 2.8.

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vor 8 Minuten schrieb Shlomo:

Ston, Croatia.

Nikon F3, Nikkor 35mm, 2.8.

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nice picture Shlomo, I can smell the fragrances of summer  and maybe a little bit of dust  in the air... 

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Haha this made my day, Rog. Wonderful. I'd buy that calendar in a heartbeat :D

13 hours ago, Ernest said:

"Move over, Rover, Steph is 'ready to mow!'" So, I am blinking and blinking at the date: 2012. Really? The jury is debating 1955 with Twelve Angry Men, not a pretty sight, and 1955 is winning. The Cold War is heating up and paranoia has yet to be a catch phrase; nothing is what it appears. But this is the dawn of Eisenhower, and Steph is driving a 1955 Buick Skylark convertible fresh off of her dad's Buick dealership showroom floor, two-toned white and pastel mint green. Pastel mint 1955 green, Steph's adopted trademark color, never mind the photography art director's prejudice for the Rover shot. And, talk about the shot! All right, we are sold on the red/green complementary scheme, and talk about the red heels, one foot on Rover's rear tire, just to steady things a bit because the Freudian subtext is, well, the Freudian subtext we love without even knowing about it. That alluring smile, getting Rover up to speed. Yes, and that flash fill, so adroit and understated. Then, there's the pastel mint green outbuilding wall that some of us who are into that sort of thing, well, that's the sort of thing we're into, excluding yours truly, ha, ha. Go ahead, invoke Bad Boy David Lynch with a theme song from Blue Velvet as the offscreen symphony for my Lounge on 127 piece! Lynch has his auteur eye on the Steph scenario as a Twin Peaks runner-up. Word's out that Mark Tansey is skipping his way over to the set for a bit of his trademark shenanigans with Derrida taking an espresso break. Oh, my, there's no such thing as "over-caffeination!" One question about the viridian green grass; was it Antonioni-painted or natural?

One more question (I lied about just one question); is there a calendar with Steph and Rover mowing great grass lawns, golf courses and suburban acreage?

So wonderfully eerie, if a colour shot can actually be eerie. And I just like saying, well writing, that word. English is great in the same way French is because it has so many unnecessary letters if necessity is defined by whether or not a letter is actually spoken. Reminds me of this old joke that never gets old. I need to stop drinking coffee...

13 hours ago, Ernest said:

David Lynch Lounge on 127
M-A APO 50  ADOX Color Implosion

This was the cut Lynch "restored" to the Director-approved version. The grass, by the way, is real.

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Well my association on this Implosion of colour fields is that it represents the contrail of an aircraft crossing a large body of water between two continents :) Really excellent Rog.

7 hours ago, Ernest said:

Ping Pong Poipu
M-A Thambar-M CS f/4.5 & APO 50  ADOX Color Implosion

Love this one Greg, really dramatic and dynamit and truly terrific T-Max tonality.

7 hours ago, Gregm61 said:

Most recent M6 images, black & white with T-Max 100..

The Cambria, same 21mm Super Elmar.

 

This is the kind of unassuming photo I can return to just to marvel at that cloud. It seems to have taken inspiration from some Chinese temple or so. Wonderful.

2 hours ago, hillavoider said:

400TX 

MP, 50 apo 

Oh memories. There's a fantastic fish restaurant and hotel at Mali Ston not long from Ston. The black risotto is amazing, or well at least was when I lived in the Balkans 20 years ago... 

52 minutes ago, Shlomo said:

Ston, Croatia.

Nikon F3, Nikkor 35mm, 2.8.

 

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